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My experience is that prose usually equals duty - last minute, overdue-deadline stuff or a panic lecture to be written.
Prose books are the show dogs I breed and sell to support my cat.
For me, writing essays, prose and fiction is a great way to be self-indulgent.
It's true that at the time I was fond of Kurt Vonnegut and Richard Brautigan, and it was from them that I learned about this kind of simple, swift-paced style, but the main reason for the style of my first novel is that I simply did not have the time to write sustained prose.
The newspaper is, in fact, very bad for one's prose style. That's why I gravitated towards feature stories where you get a little more leeway in the writing style.
There were aspects of stardom I didn't like, which were of no consequence, really, but the positive things far outweighed the negative. By the time I came to write 'Setting Sons,' I felt my writing was more like prose, set to music.
'The Sound of Things Falling' may be a page turner, but it's also a deep meditation on fate and death. Even in translation, the superb quality of Vasquez's prose is evident, captured in Anne McLean's idiomatic English version. All the novel's characters are well imagined, original and rounded.
Stylized acting and direction is to realistic acting and direction as poetry is to prose.
The lines of poetry, the period of prose, and even the texts of Scripture most frequently recollected and quoted, are those which are felt to be preeminently musical.
What I do say is that I can write verse, and that the writing of verse in strict form is the best possible training for writing good prose.
It has often been observed that the repercussion of poetic language on prose language can be considered a decisive cut of a whip.
My early prose style - this is so embarrassing - was sort of a suburban, Presbyterian knockoff of Woody Allen.
I write novellas because I don't like loose sprawling prose.
The process of composition, messing around with paragraphs and trying to make really good prose, is hardwired into my personality.
There is a strong tendency in explanatory prose to invoke quantities of tension, energy, and whatnot to explain the genesis of pattern. I believe that all such explanations are inappropriate or wrong.
Many of today's verses are prose and bad prose.
Writing for theatre is certainly different to writing an essay or any other kind of fiction or prose: it's physical. You're also telling a story, but sometimes the story isn't exactly what you intend; maybe you uncover something you had no idea you were going to uncover.
Prose talks and poetry sings.
Writing anything is terribly hard but, alas for me, because I am addicted, a heck of a lot of fun. I often am sorry I ever started writing prose, because it is so hard. But I can't stop.
I think graphic novels are closer to prose than film, which is a really different form.
I always like to break out and address the audience. In 'The History Boys', for instance, without any ado, the boys will suddenly turn and talk to the audience and then go back into the action. I find it more adventurous doing it in prose than on the stage, but I like being able to make the reader suddenly sit up.
Somehow, the words don't have any vitality, any life to them, unless I can feel it marking on a paper. That's how I start. Once I'm off, then I switch to the laptop. I think it would all just be prose if it started on a laptop - not that what I do is poetry.
The tradition of Russian literature is also an eastern tradition of learning poetry and prose by heart.
I read a lot of F. Scott Fitzgerald. I love 'Tender is the Night,' and its atmosphere of doomed romance. He was one of the greatest prose stylists, with a wonderfully clear but lyrical quality.
When you finish a poem, it clicks shut like the top of a jewel box, but prose is endless. I haven't experienced an awful lot of clicking shut!
A. P. J. Abdul Kalam
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